CHANEL BEADS w/ Horse Vision / Car Culture at Motorco Music Hall

—andmoreagain presents—
Chanel Beads
w/ Horse Vision & Car Culture
at Motorco Music Hall
Durham, NC
doors 7pm // show 8pm
$20 adv // $23 day of
Tickets on sale now
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CHANEL BEADS
Chanel Beads — the project of New York-based musician Shane Lavers — announces his debut album, Your Day Will Come (out 4/19 on Jagjaguwar), and shares the lead single/video, “Idea June.” Your Day Will Come marks Lavers’ arrival as a new force in experimental music. Throughout the album, Lavers captures the many contradictions of modern existence and the strange infiniteness of the digital world. Though he incorporates the scrappy sonics of post-punk, the gripping sentimentality of pop tunes, and the spectral artifice of electronic music, he blurs lines through unconventional song structures that build into transcendental climaxes. As he intentionally prints his songs down to embed fried artifacts and ghostly remains, the resulting songs have a time-collapsing quality, both transitory and timeless.
Following previous single “Police Scanner,” “Idea June” features live bandmate Maya McGrory taking lead vocals to project Lavers’ lyrics. As McGrory sings in a voice that’s both earnest and digitally processed, it’s as though she’s speaking as a separate embodiment of Lavers. In under two minutes, the track of clunky acoustic guitar and gutting strings lands somewhere between detachment and kinship. The track becomes strangely affecting in its unfinished and liminal form, and Lavers, who is drawn to poor MP3 rips and transitional moments in DJ mixes, knows that these inexact musical artifacts evoke human imperfection.
Lavers first started writing Your Day Will Come during a period of reflection in November 2022. Stuck quarantining in his Brooklyn apartment, he found himself wanting to dig down into the core of who he truly was, apart from fleeting trends or rebounding cultural moments. So during that strange time between winter holidays, he started to write songs that wrestled with loss that rippled through his life, foundational to the way he sees himself and the way he relates to others. Many of the lyrics that remained were in response to both internal and external conflicts. They were words that he had to speak aloud to uncover the reality of the situation.
Throughout, Lavers weaves in contributions from McGrory and experimental violinist Zachary Paul, who offer their own layers of feeling that add to the huge emotionality of the album. Accustomed to performing in various bands when he lived in Seattle, Shane began to strip everything back when he started playing shows around New York, working to locate what felt worthy for him to perform. That mindset informed the writing of the record, in which Lavers forced himself to only keep what felt the most necessary to say. “There was a filter to this record,” Lavers says. “If it didn’t move me while performing, then I couldn’t make it into a song. As much as I wanted to make something that was cool to the touch, I had to make something that made me feel something.”
The idea of “fake jazz,” coined by Donald Fagen in a Steely Dan documentary, also informed Lavers’ production philosophy for Your Day Will Come. Admiring the phrase for making the distinction between a commercial, glossy version of what some would consider to be the “real” genre, he sought out to craft his own confusing distortions of his inspirations, like The Blue Nile, Prefab Sprout, and David Sylvian.
The title of Your Day Will Come is another double-sided trick. It could be read as a promise of the arrival of good karma, or it could be a reminder of one’s mortality, said out of spite. Yet as Lavers unpacks the haunting feelings of the past that he must release in order to move into his future, he reminds us that grief and hope might be closer than they seem to the naked eye.
・Listen: chanelbeads.com/music
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HORSE VISION
In the rift between sound design, early emo, rock and pop, Horse Vision continues to elaborate on an alternative approach to traditional songwriting with a somewhat definitive, future-forward guitar music aesthetic. With the release of their 13-track album ”Another Life”, Horse Vision conglomerates a distinct selection of acoustic instruments and their synthesized counterparts; the acoustic guitar and it’s synthetic equivalent, the recorded vocal and the vocaloid – weaving a musical landscape that is at once sincere and strangely familiar. When performing live, the
foundation on which the band originates is at most evident, consisting of a classic rock trio setting with bass, drums and guitars.
・Listen: horsevision.bandcamp.com
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CAR CULTURE
New Jersey born, Queens based artist Car Culture, the alias of Daniel Fisher (also known as Physical Therapy), announces the extended version of his 2025 album Rest Here, which arrived via cult-favorite Montreal label NAFF Recordings. Alongside the announcement, Fisher shares the Physical Therapy remix of “Doesn’t Really Matter” featuring Squirrel Flower.
Following the release of his sophomore album, Rest Here, Car Culture returns with an extended version of the album for CD, streaming, and a limited edition marble vinyl repress. After immediately receiving much critical acclaim and selling out in all physical formats, NAFF and Fisher teamed up to re-release the album with new remixes, demo versions, and tracks previously only available on the earlier Nothingburger EP.
Fisher steps up under his other alias to provide a dancefloor version of the album single “Doesn’t Really Matter,” honing in on the tracks earworm melodies and fortifying its breakbeats. Also included are demo versions of some of the album tracks to provide a window into the early stages of the Fisher’s writing process.
Exemplifying Fisher’s wide ranging approach to production, Rest Here plays like a well-worn mixtape: ranging from fuzzy dream pop to hypnotic downtempo. The album represents an evolution for Fisher, known for his long and winding discography of dance music releases; while earlier works often touched on the emotive and melodic, Rest Here moves firmly into songwriting territory, with the addition of live instrumentation and a focus on vocals. Fisher has always approached his projects with a talent for world-building and on Rest Here, he constructs something tender and captivating.
Constructed over the course of 3 years between New York and Montreal alongside a cast of collaborators – mainly long-time friend Patrick Holland – layers of guitars, drums and samples come together to build a heartsick wall of sound. These emotionally and sonically dense songs inhabit a familiar place for Fisher, somewhere between brain-rotted cognitive dissonance and tear jerking sentimentality. Warm psychedelic shoe-wave primed for emotional projection. Rest Here features Fisher’s own vocals as well as Chicago’s Squirrel Flower and London’s Ms Ray. The project also includes contributions from NAFF label co-founder Priori, and New York’s J. Albert. The album was mixed by Patrick Holland and mastered by Matt Colton and Patrick Holland. Cover Photo by Ganem Haiek with artwork and design by Jesse Osborne-Lanthier.
Over the course of the last 15 years, Fisher has had a prolific, zig-zagging career, releasing genre-agnostic music under a number of aliases, often on his own Allergy Season label. From his first EP on the ground breaking label Hippos In Tanks, Fisher has continually created surprising, playful electronic music. Through his DJ sets around the globe and his long running NTS Radio show, Fisher manages to weave these many threads together.
As Car Culture, Fisher brings focus to his sentimental side. In the fan-favorite Remissions mix series, he collages fuzzy folktronica, found sounds and unexpected edits into foot-gazing narratives. His productions as Car Culture are sometimes serene, sometimes heart wrenching. Zoom out and you hear tranquilizing electronica, zoom in and you find soulful songwriting. Fisher released his first LP as Car Culture, Dead Rock, in 2021, referred to by Resident Advisor as “[one of] the great ambient records to emerge from the Brooklyn-Queens techno scene.”
Over the last year, Fisher began performing his first live sets as Car Culture, playing bass, and mixing his own singing and spoken word with samples. The band also features Taryn Blake Miller on guitar and background vocals. Performing across the US, Europe & UK, they bring the surreal analog and digital sounds from Car Culture’s albums into the real.
・Listen: globaltherapypathways.com